DW / MUTHESIUS / BEHRENS

Presentación del tema: "DW / MUTHESIUS / BEHRENS"— Transcripción de la presentación:

1 DW / MUTHESIUS / BEHRENS
EUROPA º parte DW / MUTHESIUS / BEHRENS Ángel Isac / Arquitectura XX-XXI

2 Hermann Muthesius "las casas son para vivir, no para admirarlas".
( ) "las casas son para vivir, no para admirarlas". Ángel Isac / Arquitectura XX-XXI

3 Das englische Haus, 1904-1905, 3 vols.
Hermann MUTHESIUS, Das englische Haus, , 3 vols. “Mi propósito no apuntaba a fomentar una imitación de la casa inglesa y sus particularidades, sino más bien a familiarizar al lector alemán con el planteamiento intelectual subyacente” Simplicidad, objetividad y decoro “Lo valioso y determinante de la casa inglesa es su absoluta objetividad. Se trata, sin más de una casa en la que cualquiera querría vivir. No hay excesos con propósitos representativos; no hay excesos de fantasía ornamental ni gran aparato formal, no sobredimensiona lo natural ni tiene acicalado artístico, no tiene pretensiones, no hay Arquitectura” Ángel Isac / Arquitectura XX-XXI

4 Hermann MUTHESIUS, Casa H.J. Neeuhaus, Berlín, 1906
Marchán, SA-38, p. 241 Hermann MUTHESIUS, Casa H.J. Neeuhaus, Berlín, 1906 Ángel Isac / Arquitectura XX-XXI

5 Hermann MUTHESIUS, Casa Freudenberg, Berlín, 1907-1908
Marchán, SA-38, p. 243 Ángel Isac / Arquitectura XX-XXI

6 Hermann MUTHESIUS, Casa Freudenberg, Berlín, 1907-1908
Marchán, SA-38, p. 243 Hermann MUTHESIUS, Casa Freudenberg, Berlín, Ángel Isac / Arquitectura XX-XXI

7 Hermann MUTHESIUS, Casa de Charles de Burlet, Berlín, 1911
Marchán, SA-38, p. 242 Hermann MUTHESIUS, Casa de Charles de Burlet, Berlín, 1911 Ángel Isac / Arquitectura XX-XXI

8 DEUTSCHER WERKBUND 1907 Ángel Isac / Arquitectura XX-XXI

9 La polémica de 1914 caricaturizada
Deutscher Werkbund. Caricatura de Karl Arnold sobre la polémica del congreso del Werkbund de 1914: Van de Velde propone la silla individual, Muthesius propone la silla tipo, y el carpintero hace la silla para sentarse La polémica de 1914 caricaturizada Ángel Isac / Arquitectura XX-XXI

10 Ángel Isac / Arquitectura XX-XXI

11 Ángel Isac / Arquitectura XX-XXI

12 Marchán, SA-38, p. 262 Hermann MUTHESIUS, Fábrica de hilaturas de seda Michels, cerca de Postdam, 1912 Ángel Isac / Arquitectura XX-XXI

13 Marchán, SA-38, p. 262 Hermann MUTHESIUS, Fábrica de hilaturas de seda Michels, cerca de Postdam, 1912 Ángel Isac / Arquitectura XX-XXI

14 Gössel, p. 95 Hermann MUTHESIUS, Fábrica de hilaturas de seda Michels, cerca de Postdam, 1912 Ángel Isac / Arquitectura XX-XXI

15 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, 1911-1912
Gössel, p. 97 Ángel Isac / Arquitectura XX-XXI

16 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, 1911-1912
Marchán, SA-38, p. 269 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, Ángel Isac / Arquitectura XX-XXI

17 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, 1911-1912
Marchán, SA-38, p. 269 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, Ángel Isac / Arquitectura XX-XXI

18 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, 1911-1912
Frampton, Modern Architecture, GA-2 (1981), p. 178 Hans POELZIG, Fábrica de ácido sulfúrico en Luban, Ángel Isac / Arquitectura XX-XXI

19 Marchán, SA-38, p. 272 Estructura de acero, planta octogonal de 25 m de diámetro, 30 de altura, coronado por una esfera dorada. Vidrieras amarillas y verdes. Significado simbólico... Bruno Taut, Monumento del hierro, Exposición internacional del ramo de la construcción, Leipzig, 1913 Ángel Isac / Arquitectura XX-XXI

20 Peter BEHRENS (1868-1940) Peter Behrens
Peter Behrens was born in Hamburg in Behrens studied painting from 1886 to at the Karlsruhe School of Art, and then in in Düsseldorf under Ferdinand Brütt. In he visited the Netherlands before settling in Munich. He was a member of the Munich Secession and mixed with the artistic radicals of his day. In 1897, after a visit to Italy in 1896, he was one of the founders of the Munich Vereinigte Werkstätten (United Workshops). Behrens formed a close friendship with Otto Eckmann and designed for "Pan". Behrens designed covers for Otto Julius Bierbaum's advanced literary magazine, Die Insel (1899), his Der Brunte Vogel (1899) and for his Pan im Busch (1901). His early career as a painter and graphic artist reveals him as an exponent of jugendstil artwork. In 1899 he was invited to Darmstadt to join the artists' colony set up in Hesse's state capital by Prince Albert's grandson, Grand Duke Ernst Ludwig II von Hessen. In Darmstadt Behrens built his own house in which he designed every component, from structure down to cutlery. He designed the house specifically for the Darmstadt 1901 Exhibition. The Haus Peter Behrens was the only building on the Mathildenhöhe not designed by Olbrich. It incorporated both arts and crafts and jugendstil influences in an individualistic way that points to his later work. It received general praise, and was published in "Deutsche Kunst und Dekoration". Behrens wrote the preface and designed the ornament for the record of the exhibition presented to Grand Duke Ernst Ludwig, Ein Dokument Deutscher Kunst (1901). In 1902 Behrens designed the German entrance hall at the Turin Exhibition, with rectilinear furniture covered with leatherwork by Georg Hulbe. In he designed the decorations for the catalogue of the German section at the St Louis Exhibition. From 1903 to 1907 Behrens was director of the Düsseldorf School of Applied Arts. In 1906 he was asked to design publicity material for Emil Rathenau's A.E.G., the great electrical combine in Berlin, which had previously employed Adolf Messel and Otto Eckmann as designers. As artistic adviser, his job was to transform the entire image of the huge company. This marked the emergence of corporate identity. Behrens pioneered the concept and put it into practice. He often expounded his belief in the necessity of the unification of art and industry (an important point later taught by his students at the famous Bauhaus school). His identity also included another innovation. For A.E.G. he designed the first corporate typeface with sole ownership and use for and by A.E.G. (Later, the typeface was released for public use.) His involvement there led to his appointment by Emil Rathenau in 1907 as architect and product designer for that firm. (Behrens kept the position until 1914.) "It was like an industrial version of Richard Wagner's Gesamtkunstwerk: as one of the first architect-designers to be given such a large scope by a large industrial concern." He was in charge of graphics and then factory building, workers' housing and also industrial design where he designed light fixtures, fans, kettles, and other products. Also in 1907 Behrens, who was closely associated with Muthesius, became a founding member of the Deutscher Werkbund. In he designed four typefaces for Klingspor Brothers of Offenbach-am-Main: Behrensschrift, Behrens Antiqua, Behrens Cursiv, and Behrens Mediäval. Since 1901 Behrens was a prolific designer of bookbindings, earthenware, glass, cutlery, and fabrics. In 1910 Walter Gropius, Ludwig Mies Van Der Rohe, and Le Corbusier all worked in his office. Gropius wrote of his influence in The New Architecture and the Bauhaus, "It was Behrens who first introduced me to logical and systematical co-ordination in the handling of architectural problems." In 1912 Behrens designed suites of cheap but sturdy furniture for the living room, bedroom, and kitchen of a worker's home, in a style that was a combination of Biedermeier and Arts and Crafts in contrast to his earlier furniture which was curvilinear. Around the First World War Behrens was deeply involved with the Deutshcer Werkbund. This importance has tended to overshadow his great gifts as a designer, although his industrial work for A.E.G. has received more than its due from historians of the Modern style and industrial design. From 1922 to 1936 Behrens taught architecture at the Vienna Academy, and in 1936 he conducted architectural master-classes at the Berlin Academy. From 1936 until his death in 1940, he was director of the department of architecture at the Prussian Academy in Berlin. Peter Behrens on design ( ) "We have become used to some modern forms of construction, but I do not believe that mathematical solutions will be visually satisfying. Otherwise it would mean a purely intellectual type of art, which is a contradiction in terms." Ángel Isac / Arquitectura XX-XXI

21 Peter BEHRENS, Behrens House at Darmstadt, Germany, 1901
Marchán, SA-38, p. 225 Peter Behrens, at Darmstadt, Germany, 1901 Behrens House Peter BEHRENS, Behrens House at Darmstadt, Germany, 1901 Ángel Isac / Arquitectura XX-XXI

22 Peter BEHRENS, Casa del Dr. Cuno, Hagen, 1908-1910
Gössel, p. 86 Peter BEHRENS, Casa del Dr. Cuno, Hagen, Ángel Isac / Arquitectura XX-XXI

23 Peter BEHRENS, Casa del Dr. Cuno, Hagen, 1908-1910
Marchán, SA-38, p. 251 Peter BEHRENS, Casa del Dr. Cuno, Hagen, Ángel Isac / Arquitectura XX-XXI

24 Peter BEHRENS, Embajada Imperial Alemana, San Petersburgo, 1912
Marchán, SA-38, p. 253 Peter BEHRENS, Embajada Imperial Alemana, San Petersburgo, 1912 Ángel Isac / Arquitectura XX-XXI

25 Berlin, 1888 Lithographie Ángel Isac / Arquitectura XX-XXI

26 Peter BEHRENS. Trabajos para la AEG
Fahr-Becker, p. 271, 272 Peter BEHRENS. Trabajos para la AEG Ángel Isac / Arquitectura XX-XXI

27 Ángel Isac / Arquitectura XX-XXI

28 Marchán, SA-38, p. 256 Tietz (1999), p. 23 Ángel Isac / Arquitectura XX-XXI

29 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, 1908-1909
Gössel, p. 92 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, Ángel Isac / Arquitectura XX-XXI

30 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, 1908-1909
Gympel, p.84 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, Ángel Isac / Arquitectura XX-XXI

31 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, 1908-1909
Frampton, Modern Architecture, GA-2 (1981), p. 152 Gössel, p. 90 y 92 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, Ángel Isac / Arquitectura XX-XXI

32 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, 1908-1909
Marchán, SA-38, p. 255 Peter BEHRENS, Fábrica de turbinas de la AEG, Berlín, Ángel Isac / Arquitectura XX-XXI

33 http://www. muhs. de/shop/cgi-bin/artikel. asp
Ángel Isac / Arquitectura XX-XXI

34 Marchán, SA-38, p. 261 Peter BEHRENS, Fábrica de pequeños motores en la Voltastrasse, Berlín, Ángel Isac / Arquitectura XX-XXI

35 Peter BEHRENS, Fábrica de alta tensión de AEG, Berlín, 1909-1910
Gössel, p. 93 Peter BEHRENS, Fábrica de alta tensión de AEG, Berlín, Ángel Isac / Arquitectura XX-XXI

36 Der AEG-Fimenkomplex in Berlin-Wedding Photographie um 1912
Der AEG-Fimenkomplex in Berlin-Wedding Photographie um 1912 Ángel Isac / Arquitectura XX-XXI

37 1911 1908 AEG FAGUS Ángel Isac / Arquitectura XX-XXI